The Blackening Review

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The Blackening ReviewIt's been a long uphill battle for Machine Head in the 14+ years they have spent in the music business. Sure, they got off on the right foot with the acclaimed Burn My Eyes, but after that, things seemed to get hazy for the group. In 1999, they teamed with Korn/Limp Bizkit producer Ross Robinson for Burning Red, which, despite being a great album in it's own right, set the stage for the next few years of the bands career. By 2001, Machine Head had slowly slipped into nu-metal territory, and of the worst kind, and thus, we got Supercharger, which is undeniably the band's worst effort. Thankfully, they got things right and in 2004, Through the Ashes of Empires saw the light of day and saw Machine Head turning once again to the sound that made them in the first place, while embracing all the musical experiments on the previous four albums.
So what's the point in the history lesson? To understand why Machine Head's return to form has been so triumphant. "The Blackening" is hands down, without a doubt, the best thing Machine Head have done since 1994. One listen to the opening epic, "Clenching The Fists Of Dissent," and you're opinion of Machine Head will be forever altered. I'd hate for this review to be just mindless hype, but everything you've been hearing so far is true. "The Blackening" is a masterpiece. Opening and closing with songs that push past the ten-minute mark each, "The Blackening" is a bold statement from a band who have finally stopped giving into label pressures, stopped trying to mimic everyone else's style, and generally, just stopped caring what anyone thinks. "Now I Lay Thee Down" is about the most conventional the album gets, but even that's a stretch. Even the shorter tracks, such as "Slanderous" push Machine Head over the edge as far as musicianship goes. Phil Demmel and frontman Rob Flynn play off each other almost as if their minds were one. Despite metal's tendency to show off, Machine Head's work on "The Blackening" is not. Every little sound they add to the stew just makes it all the more powerful, all the more memorable, and all the more musical.
It's only March, and yet I believe 2007 has it's best metal album already. It's going to be a long time until someone comes along and tops this -- and coming from a band like Machine Head, who have been so inconsistent in the past -- who would have expected it? Great for them, though. I don't think anyone will question them ever again. Machine Head have proven that there are second chances in this business and more importantly, have delivered a pure-metal album that is just about perfect.The Blackening Overview

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Fear of a Blank Planet Review

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Fear of a Blank Planet ReviewFor many, this is one of the big albums to watch in 2007. In certain circles, at any rate, there has been a lot of rather assuming talk, with phrases like potential `album of the year' thrown around. Ancillary to this, some of us were privileged enough to hear the entire thing in rough, prototype form live last year, and the textures and dynamics evident in some of the entrancing music we heard that evening certainly suggested something special waiting in the wings. Finally, a lot has been made of the fact that (supposedly) this album functions as one continuous 50-minute cycle of music, and that the lyrics deal pretty much exclusively with Wilson's fears that the younger generation is risking descent into intellectual torpor owing to their addiction to an oh-so lethal cocktail of prescription drugs, MTV, internet addiction and banal culture of necessary instant gratification.
For me, however, none of the above really has much bearing on the album itself. Sonically, the six pieces here (which are distinct enough not to flow together the way, say Light of Day, Day of Darkness does) present an interesting proposition. Crucially, the narcotic core of their sound has been left largely intact, with outrageously catchy melodies, dense, layered and painstakingly executed production, careful, wandering bass-lines and lush, intricate harmonies all present in abundance. There is a slightly more heavy approach evident, but overall the album is remarkably spacey and dreamy, with a lot of attention given to synth washes, soundscapes and somnambulistic melodies, all rather reminiscent of their The Sky Moves Sideways era. But this is juxtaposed with the tight songwriting and straightforward riffing of later releases. If their are any new elements, and I'm inclined to say there are, they emerge in subtle ways: Wilson's vocals, which have changed little over recent years, seem more brazen and stretched, while some of the melodies seem more intricate, more assured and composed, and take time for the listener to fully appreciate.
The title track turns on a riff that is highly reminiscent of `Deadwing', while the chorus has a kind of gentle brutality that is somewhat jarring. The rhythmic vocals over the verse have an interesting, pseudo-rap like quality. The outro is dreamy and unexpected. `My Ashes' is stunning, with that perfect verse/chorus interplay Wilson excels at, lush orchestration and nebulous, highly evocative lyrics. The wordless vocal which rounds off the song engenders a kind of urbane emotional atmosphere, a beautiful dignity.
And then to `Anesthetize', which stands well out of the crowd simply by virtue of being 17 minutes long! Live, this track was instantly memorable and impressive, and here it does not disappoint. Wilson seems to have shoehorned just about every facet of his remarkable music making skills inside. The four minute introduction is sinister, haunting and deceptively melodic. The four to around 11 minute mark is utterly replete with intricacies, yet never overblown: indeed, it displays an uncanny use of shifting dynamics and sustained tension, of the kind Tool have often used so effectively. A slow build is embellished by an ornate Alex Lifeson solo with a welcome exotic tinge, before the heavy riffing slides into view, along with a great, eerie verse and one of their most breathtaking choruses. Then we are hit with something pretty surprising at 11 minutes - suffice to say the song implodes in spectacular fashion, and the excellent outro is ushered in, all sepia tinged sunsets and darkened skies.
To follow that, the gorgeous `Sentimental' harks back to earlier albums slightly, with an intro reminiscent of `Collapse the Light Into Earth', and a breakdown towards the end which re-introduces the riff from `Trains' in slightly moderated form, a happening I've not entirely figured out. Despite this, the gentle lilt of the chorus is possibly Wilson's most effective evocation of sheer melancholy (no mean feat!). `Way Out of Here' is perhaps the most interesting song, a kind of psychedelic metal experiment, although `Sleep Together' pushes it close, a kind of apocalyptic industrial tinged nightmare, with lyrics seeming to equate suicide with sexual release.
Maybe not as much a massive leap forward then, as a consolidation, and certainly a near flawless, very tightly constructed album with a lot of depth, as the whole picture will take quite a lot of listens to emerge. Including only six songs does ensure welcome brevity and consistency. In many ways, which perhaps I've not entirely made apparent, this is their most complex record; at any rate, it is certainly extremely dense. Whether it is their best record, or album of the year is, however, open to debate. Nevertheless, it comes highly recommended.
Fear of a Blank Planet OverviewThis starkly beautiful elegy on the numbness, apathy, and isolation brought about by the constant barrage of television, video games, advertising, prescription drugs, sex, and violence of everyday life is emphasized by the symphonic arrangement of metal guitars, synthesizers, fat basslines, and virtuosic drumming.

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The Good, The Bad & The Ugly (Expanded) Review

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The Good, The Bad & The Ugly (Expanded) ReviewTimed with the release of the special edition DVD of "The Good, the Bad and the Ugly," this soundtrack presents an expansion of Ennio Morricone's score with ten previously unavailable tracks and a running time of 55 minutes. The sound has also been excellently remastered, making a huge improvement over the poor quality of the old LP and CD. Any fan of the film or the music of Morricone will want to grab this right away.
A few cautions however: nowhere on the CD packaging or in the enclosed booklet is the listener informed that the new tracks are in MONO, not stereo (stereo masters do not exist for the new tracks). The mono sound quality is clear and well done, but it does clash significantly with the original stereo tracks. I don't think this should prevent anyone from purchasing this CD, but buyers should be aware that the sound varies tremendously between tracks. Also, the enclosed booklet contains no liner notes or information on the music. It does contain three spreads showing close-ups of the eyes of the main characters -- a cool design idea -- but the album producers missed a golden opportunity for presenting background data, restoration notes, and track-by-track commentary. A score of this historical importance certainly deserves this sort of treatment!
With this score, Morricone pushed to its limits his rough, weird style of Western music that he developed in his two previous Westerns for Sergio Leone. The famous "Main Title" sums up Morricone's approach perfectly: bizarre instruments, jagged changes in sound, and a thunderous tempo. This main theme appears throughout the score in many variations, depending on which member of the unholy trinity it is describing. The other tracks found on the old CD outline the other important themes: the slow `war theme' heard in multiple bugle calls in "The Strong"; the ethereal female vocal in "The Carriage of the Sprits"; the sprightly dance tempo of "Marcia," which later becomes a slow, grim lament with a wordless male chorus in "Marcia without Hope"; and the vocal piece "The Story of a Soldier," sung by a chorus of imprisoned confederates, and later made into the most touching piece on the album, "The Death of a Soldier." The score concludes with two incredible musical pieces. "The Ecstasy of Gold" is a swirling, gradually building piece dominated by a soaring female solo voice; it casts an incredible hypnotic spell to match the title -- this is true `ecstasy'. "The Trio" covers the tense showdown, and will make your heart pound out of control as the music crescendos with drums, Spanish trumpet, and guitars hammering away at each other.
Here's what you'll find on the new tracks.
"Sentenza" (the Italian name for the character Angel Eyes, played by Lee Van Cleef), "Fuga a Cavallo" (Escape on Horseback"), and "Inseguimento" ("Pursuit") utilize new different versions of the famous theme. "Sentenza" is eerie and played on electronic guitar and low woodwinds, while the other two versions are action-oriented. "Il Ponte di Corde" ("The Rope Bridge") features some of Morricone's most bizarre and comic orchestration. "La Missione San Antonio" is a rare moment of laid-back beauty in the score, using the theme heard in "The Story of a Soldier" as its base. "Padre Ramirez" is a sad and beautiful Spanish guitar lament, another bit of touching music amidst the musical ferocity (although the main theme explodes at the finale). "Il Treno Militare" ("The Military Train") returns to the "The Story of a Soldier" theme, but played slowly and with a martial drum beat underscoring it.
"Fine di Una Spia" ("End of a Spy") starts with the a soft version of the main theme, then switches over a version of "The Carriage of the Spirits." "Il Bandito Monco" ("The Bandit Monco") and "Due Contro Cinque" ("Two Against Five") are suspense pieces using heavy, punctuated percussion and only hints of any of the film's themes.
I hope that some music label will get around to re-mastering and expanding Morricone's greatest score, "Once Upon a Time in the West," with the same care done here!The Good, The Bad & The Ugly (Expanded) OverviewOne of the all-time great Western scores, restored to its original length-that means an additional 10 tracks! A spaghetti-flavored treat for soundtrack collectors!

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Be Here Review

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Be Here ReviewKeith Urban really cuts loose on this album, he co-produced to make sure the fans hear it just as he intended and it is SO diverse and shows his mad skills. From the simple pickin' on "Country Comfort" and "God's Been Good to Me" to the upbeat, odes to women "You're My Better Half" and "I Could Fly". The guitar is prominent on "Days Go By" and "Live to Love Another Day", he is definitely a happy guy. He is at his most soulful on "Tonight I Wanna Cry" and the dark "Nobody Drinks Alone", that song gave me chills the first time I heard it, I had to immediately play it again. "Making Memories of Us" is destined to be a big hit, it is from the heart and the lyrics are so sweet. This CD is hot from front to back and sideways, it should make everyone's top ten lists for 2004.Be Here OverviewBE HERE shifts Keith Urban's career into a higher gear! This country music superstar has already had success with a double platinum-selling GOLDEN ROAD & his platinum-selling debut, KEITH URBAN, BE HERE is showing every indication of following the same path.

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Rain Dogs Review

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Rain Dogs ReviewI have long loved Tom Waits, and have a host of his albums, but this gem of a record remains by far his best effort. It isn't just that many of his best songs are on this album, but that virtually all of the songs are at least highly listenable. The quality of RAIN DOGS can be seen in the fact that a large number of artists have recorded this album's songs.
Musically, the amazing arrangements sound like Kurt Weill meets Captain Beefheart meets a carnival barker meets a bottle of bourbon. As the album begins and moves from "Singapore" to "Clap Hands," you know that you are not dealing with a three-chords-and-a-cloud-of-dust performer. What is stunning after the album's first few songs, however, is how lyrical Waits becomes as the album goes on. For all the raucousness of some of the numbers, it is easily balanced by the beauty of songs like "Downtown Train," the gorgeous "Time," or the mournfully drunken "Blind Love." Waits employs a crack back up band, with significant guess appearances with performers like Keith Richards. The star back up musician is, however, Marc Ribot, who as he so often does provides stunningly original guitar lines that embellish every song upon which he appears.
Lyrically, Waits has never been better, turning out one superb line after another. Several of the songs read as more than decent poetry, and many individual lines pop out, such as (from "Time") "The things you can't remember tell the thing you can't forget" or, in the best line about being down, down and out I have heard, "When you're east of East St. Louis" (with apologies to East St. Louis). Or what about this great line from "Blind Love": "They say if you get far enough away/You'll be on your way back home." Even some of the less well-known songs on the album, like "Tango Till They're Sore," are lyrically stunning.
I'm a big fan of Tom Waits, but while in his other albums I always find him at least interesting, I still find there are a lot of individual songs that aren't up to the level of his best work. RAIN DOGS is Tom's best album partly because it contains many of his best songs, but partly because it contains absolutely none of his worse. This is all the more remarkable given the fact that RAIN DOGS was one of the first albums to take advantage of the greater capacity of CDs to expand the number of cuts. Despite the larger number of songs, there are no weak cuts and no filler.Rain Dogs OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: WAITS,TOMTitle: RAIN DOGSStreet Release Date: 06/01/1990

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Casino Lights '99 (2001) Review

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Casino Lights '99 (2001) ReviewI am astonished that Sam Graham from Amazon.com is reviewing a jazz performance! Not to be too harsh but you missed the point guy! The whole structure of Jazz is to JAM and these players turn it out full steam ahead! Listen to the early guys that wrote the real stuff; Coltrane, Bird, Ellington,Miles for heaven sake, it was not all melody. There is a thing in Jazz called improvisation, and that is what is happening on the CASINO LIGHTS '99 DVD. A Jazz student could study this recording for a long time with all the different musical creations that take place on it. Check out some of the lines George Duke is playing behind some of the solos! Besides, it is great to see Kirk Whalum playing just as good as Garrett, and Boney demonstrates some serious ability here as well. Finally a few of the smooth jazz guys are letting the world know that they can play too! BUY THIS DVD you wont regret it! These are some of the most respected players alive today, and sorry Sam, if you didn't like this recording you must not like Jazz.Casino Lights '99 (2001) OverviewCasino Lights '99 is a live concert performance featuring renowned contemporary jazz musicians Bob James, George Duke, Rick Braun, Boney James, Kirk Whalum, Larry Carlton, Fourplay, Kenny Garrett, Kevin Mahogany, Mark Turner, and Gabriela Anders. Shot in 1999 at the legendary Montreux Jazz Festival, Casino Lights '99 showcases each artist's mastery of the art form spanning genres form traditional to the contemporary repertoire. A complete track listing for the Casino Lights '99 DVD includes: Mind Games - Bob James Trio Old Folks - Mark Turner Wayne's Thang - Kenny Garrett Quartet Cold Duck Time - Larry Carlton Soweto - Kirk Whalum Yesterday I Had The Blues - Kevin Mahogany Always There - Rick Braun, Larry Carlton, Kenny Garrett, Boney James & Kirk Whalum All Night Long - Boney James Notorious - Rick Braun Fire of Love - Gabriela Anders Brazilian Love Affair - George Duke Four - Fourplay Westchester Lady - Fourplay, Rick Braun, Boney James & Kirk Whalum Watermelon Man - FFourplay, Rick Braun, Boney James & Kirk Whalum

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Rodrigo Y Gabriela Review

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Rodrigo Y Gabriela ReviewIts difficult to describe what Rodrigo y Gabriela can do with a pair of guitars, the best thing to do is to click on the crocodile's eye at http://www.rodgab.com to see for yourself.
Don't think that this is flowery, fluffy flamenco guitar music, its not. If you like rock, you'll love this. The opening two tracks ("Tamacun" and "Diablo Rojo") are the highlights in an album of standout tracks. Tremendous. rayRodrigo Y Gabriela OverviewRodrigo and Gabriela are two fast-fingered, Dublin-based, Mexicans with a unique sound created on acoustic guitars. Their music is difficult to define, straddling both world and rock, and often imbued with the timeless Hispano classical influences.The fire in it comes from their life-long passion for metal music.Rodrigo is a deft finger-picker who can move from raging speed to sensual soul in the space of a fret, while Gabriela employs fast, rhythmic techniques. Her percussionist's thrashing of strings and drumming of the instrument's body inevitably raises comparisons with flamencowhich they acknowledge as an influence but swerve as a pigeonhole, The duo's repertoire flies beyond familiar Latin folk guitarists' styles because of the metal connection: their reworkings of Led Zep's Stairway To Heavenand Metallica'sOrion are musts, and the presence. On Ixtapa , of the fiery Hungarian gypsy violinist, Roby Lakatos, is inspirational.--This text refers to an alternate Audio CD edition.

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Hotel Lights Review

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Hotel Lights ReviewTake one part singer sounding like front-man Fran Healy of Travis, and add to that one part singer sounding like Matthew Caws of Nada Surf. Mix in soft acoustic guitar, at times-Weezer like keyboards, and melodic moody Ben Folds familiar sounding piano, and you now have the recipe for Hotel Lights. Speaking of Ben Folds, how this guy Darren Jessee was hiding behind Ben Folds Five on drums is like wondering about Dave Grohl's misplaced song writing talent behind Kurt Cobain of Nirvana. At some point in their careers, both Grohl and Jessee needed to be front and center leading their own bands. Here's the goods on Hotel Lights, they are well equipped with talent! The song writing is difficult to imagine anyone writing in 2 weeks, and upon listening to the album endlessly, as I have, you might wonder if there is any truth to that rumor. If it is true, then my guess is, you are going to be hearing a lot of this band in the future. Here's some good advise...listen to this album more than once, it will capture a place in your head and heart. It did mine.Hotel Lights OverviewDarren Jessee started Hotel Lights after many years of writing songs, playing drums and touring in the trio, Ben Folds Five. Moving back to his home state of North Carolina, he put together his ideal band that included former Archers of Loaf drummer Mark Price and producer / guitarist Al Weatherhead.. Together they made a record you'll want to hear every day, with pop songs that you get closer to after each listen-like your favorite Nick Drake record or something off of Court and Spark. The music is richly layered with melodious keyboards, crisp guitars, soft pianos and a generally laid-back feel. Like The band, Hotel Lights play with authority and confidence, creating their own brand of timeless pop. Jessee's vocals are as distinct and endearing as the songs themselves. His warm, warbled tenor is similar to a mellower version of The Shins or a more heavenly Will Oldham. But it's his lyrics that set him apart from his peers, with an honest, storytelling quality.!He writes about the "Marvelous Truth", laments the golden age of 70's radio hits, and repeatedly touches upon the holy trinity of great pop records: love, loss, and starting over.--This text refers to an alternate Audio CD edition.

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Martin Scorsese presents The Blues - A Musical Journey (2003) Review

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Martin Scorsese presents The Blues - A Musical Journey (2003) ReviewThe premise is a good one: take seven visionary directors and turn them loose on a subject like the blues. The result, while for the most part excellent has a slight tendency to lag a little.
The Blues takes us on a musical journey through perhaps the only true American art form. The journey begins in the Mississippi delta and winds its way to Mali and all points in between. What we wind up with is a history of the black influence in American and its expansion to the world.
The series opens with Martin Scorsese's Feel Like Goin' Home a documentary that takes modern blues player Cory Harris from the Misissipii delta to Mali in Africa to explore the similarities in the music that moved from Africa with the slave transports to the Southern United States.
German director Wim Wenders film The Soul of a Man chronicles the lives of three blues players that affected the director. Through fictional recreation and archival footage we get biographies of Blind Willie Johnson, Skip James, and J.B. Lenoir.
Richard Pearce takes us on a musical journey with B.B King. and Rosco Gordon back to Memphis and Beale Street og the past and present in his Road to Memphis. Also explored is the story of moden player Bobby Rush who continues to travel the "chitlin circuit" of his ancestors. The film culminates in a performance of bles legends at the W.C. Handy Awards.
Charles Burnett tells the story of his youthful travels with his southern blues loving uncle in Warming By the Devil's Fire. This film relies heavily on archival footage of the great southern blues artists and explains the differences between the music that was played on Saturday nights in contrast with the gospel music of Sunday mornings. It is interesting to note that in many respects that there was not a whole lot of difference between the two genres in style.
Perhaps the most interesting film is Marc Levin's Godfathers and Sons which explores the Chicago blues scene. The film profiles Marshall Chess, son of Leonard Chess and founder of the legendary Chess Records. Chess meets with rap icon Chuck D to take the blues to its next level with a modern recording of Electric Mud. The reunion of the origal band with blues next generation makes for an interesting film.
Red, White and Blues by director Mike Figgis explains the blues impact on classic rock in the 60's and 70's. This is a straight interview piece that covers the British invasion by the music and its branching out to the world.
Piano Blues is Clint Eastwood's contribution to the series. This film features interviews with piano masters Ray Charles, Dr. John and Dave Brubeck. This piece also includes archival footage of Art Tatum, Theolonious Monk, Fats Domino, and Professor Longhair.
The series is a good one if not necessary one that you'll want to watch over and over. The main problem is that there too little emphasis on the actual recordings. The films stress the music but I would have enjoyed hearing more.Martin Scorsese presents The Blues - A Musical Journey (2003) OverviewMARTIN SCORSESE PRESENTS THE BLUES - DVD Movie

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Guitarra Caliente: Rythmic Latin Guitar Review

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Guitarra Caliente: Rythmic Latin Guitar Review1. 3:22 Oscar Lopez / Baila, Baila

2. 4:46 Strunz & Farah / Matambu

3. 4:04 Jesse Cook / Switchback

4. 4:48 Geraldo Nunez / Isa

5. 3:22 Pasero & Patterson / La Cumparsita

6. 4:10 Chuscales / Templaito

7. 3:22 Pavlo / Andalusia by Night

8. 4:55 Miguel de la Bastide / Mori Sonando

9. 2:43 Juanjo Dominguez / Berretin

10. 3:26 Peppino D'Agostino / The Dancer

11. 2:09 Pasero & Patterson / Camino Caliente

12. 4:26 Gerardo Nunez / Jucal (Something Good)
Guitarra Caliente: Rythmic Latin Guitar Overview

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Live in Japan (W/Dvd) Review

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Live in Japan (W/Dvd) ReviewI've played guitar, followed acoustic and electric guitar for years in classical, alternative, classic rock and folk genres. These two musicians are in a class of their own, and this recording is probably the best example of their capabilities.
Whether they perform their own work or full or partial covers, Rodrigo is a superb lead with a hit, fluid style I've not experienced since early Carlos Santana. Gabriella uses her guitar as a dual percussion instrument in which the strings release the downbeat and the musician's fingers on the surface of the instrument release every other facet of rhythm.
This is not ambient or mood music. It commands your attention, but once you do you will not be able to still your body -- so driving and rhythmic is their style.
Produced in Japan, this release includes a 27-minute DVD showcasing five of the duo's best pieces and it is mesmerizing to watch (in comparison to most accompanying DVDs out there).
These two are a real "find," and will appeal to anyone who loves acoustic Flamenco, Fado, contemporary Mexica music or anything in between. And if yu love the guitar, don't even bother to wait. This is a deal and a delight, ad also my choice for one of the best of 2008.Live in Japan (W/Dvd) Overview

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Learn to Play the Songs of John Denver DVD#2 Review

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Learn to Play the Songs of John Denver DVD#2 ReviewThis has several of my favorite John Denver songs. Aspen Glow, Christmas for Cowboys, This Old Guitar, I Guess He'd Rather Be in Colorado, Mother Nature's Son, Rhymes and Reasons, and Take Me Home, Country Roads. Pete generally gives some interesting background on the songs and walks you through the chords and strums or picking patterns. Split screen shots show you right and left hand techniques. You may appreciate his singing, not because he sings well but because he does not sing all that well. If he is brave enough to sing, then you should be inspired to sing as well. ;)Learn to Play the Songs of John Denver DVD#2 Overview

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Folk Hits of the 60s Review

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Folk Hits of the 60s ReviewOnly five of these songs were recorded outside the time frame of 1960-1965, and only "Both Sides Now" was written after that time. During this time period, folk music usually fell within one of two groups. There was the political/protest music camp. And then there was the folk/pop group. Nearly all of these songs fall in the latter category. In fact, all but Woody Guthrie's "This Land Is Your Land" and Joan Baez's rendition of the Phil Ochs-penned "There But for Fortune" landed in the Top 40 of the pop charts.
While several of these artists have the pedigree as protest singers (Joan Baez, The Weavers, Woody Guthrie), the focus here is clearly on listener-friendly songs. But even with the compiler's intent to put the focus on folk-lite, it seems a bit of a stretch to include Gale Garnett's "We'll Sing in the Sunshine," and The Wonder Who's version of Dylan's "Don't Think Twice" is almost unlistenable. [Note: The Wonder Who is Franki Valli and the Four Seasons, who took this song to No. 12 in 1965!]
With that said, if you like your folk music sanitized and the rough edges smoothed over, this is a very listenable and enjoyable album. The only glaring omission from this collection is the absence of anything by Peter, Paul and Mary. [It would have made more sense to use THEIR hit version of "Don't Think Twice"!] All things considered, this is a delightful album from start to finish. RECOMMENDEDFolk Hits of the 60s Overview

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